"At her very point of origin, Shelley traded her life with that of her own mother. For less than two weeks she rested in the maternal arms before losing her mother to the grave. Her only visitations were to her grave, and her joy was forever tainted by her pain and that most essential severance. Her origin was death and life her curse. Like her creature, she experienced the pain and steeled herself and found, in the learning of words, the only way to sing about her loneliness. Much tragedy was to befall her, more than most contemporary minds could bear. It is entirely understandable that she might have believed herself accursed. Most everyone she loved, she lost, and posterity has never offered consolation to the artist. She has always impressed me in a way similar to how the Brontë sisters impress me: Most people would like to travel in time to meet great statesmen or explorers. I would love to travel back to contemplate life with these remarkable women—to hear them speak, to walk by their side on cold beaches or moors and under impossibly steely skies. For I was born in a sunny place in the middle of a sunny country, but within me I had a kinship to the same spirit that animated their melancholy and art. I had seen Whale’s film, and I saw Shelley’s novel in the form of a Spanish paperback from Bruguera (my go-to dark fiction publisher in the late sixties, early seventies). Being an import, the book was not cheap. I saved my Sunday allowance for a couple of weeks and bought it. I read it in one sitting, and by the end of it, I was weeping. It was my Road to Damascus. It illuminated the reason I loved monsters, my kinship with them, and showed me how deep, how life-changing, a monster parable could be—how it could function as art and how it could reach across distance and time and become a palliative to solitude and pain. And here we are, two centuries later, faithfully depositing flowers to this most exquisite storyteller, this extraordinary Galatea who refused to be shaped by her circumstance and gave us all life. And we try, in return, to help her creature stay alive. We strive to turn a curse into a blessing. We hope that in some way, somehow, our gratitude, our love, can reach him like a whispered prayer, like a distant song. And we dream that perhaps he can stop—amid the frozen tundra and the screaming wind—and can turn his head and look back. At us. And we hope that then he might recognize in our eyes his own yearning. And that perchance we can walk toward each other and find meager warmth in our embrace. And then, if only for a moment, we will not feel alone in the world."
-- Guillermo del Toro, in his introduction to The New Annotated Frankenstein
